All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
A boy and girl face the challenge of the world's last frontier
A teenage girl and her young brother are stranded in the Australian outback and are forced to cope on their own. They meet an Aborigine on "walkabout": a ritualistic banishment from his tribe
Nicolas Roeg is fast becoming one of my favorite directors. Granted, I've only digested three of his films so far, and I understand that his quality declines quite drastically later in his career (otherwise, I would have expected him to be one of the all-time greats instead of just respected yet rarely talked about), but he has yet to take a misstep in my book. Not only are the films of his I've watched commendable, they are truly excellent. From his mastery of the thriller/horror in Don't Look Now to the daring experimental sci-fi of The Man Who Fell To Earth, I've now been lucky enough to catch the beautiful, perhaps even 'Malickian' nature odyssey of Walkabout.
Walkabout, above all,…
I often talk about how I cherish the rare and unique opportunity to experience a film through pure, unbiased eyes, having never seen a trailer or a clip, with no knowledge of even a basic premise to get me started before sitting down and pressing play. Such was my approach to the 1971 Australian movie Walkabout, as I literally only knew the name of the director and the fact that it was deemed worthy of inclusion to the Criterion collection.
I wanted Nicolas Roeg to tell me a story, to paint something extraordinary with his highly regarded brush that, despite his expansive filmography, I had never witnessed in action before.
The film starts with various shots of crowded,…
This review may contain spoilers. I can handle the truth.
"I don't suppose it matters which way we go..."
Nicholas Roeg's 1971 film Walkabout is so dizzying in it's sheer beauty, that one tends to get just as lost in it's Australian landscape and vistas as our protagonists, and it's through Nic Roeg's innovative editing and cinematography that we witness a teenage schoolgirl and her little brother become one with the landscape, as if nature is devouring the foreign objects that enter into its realm (symbolised by their picnic food being consumed by ants).
Edward Bond's 14 page screenplay, which is loosely based on the novel 'Walkabout' by James Vance Marshall, is apparently quite a step away from the novel in it's cinematic form. Roeg infuses the film with layers…
The near silent opening of the film contrasts the concrete hell of the city set against the wise open spaces of the Australian outback. It is not until we are in the car with the girl, her younger brother and father that we have a clear understanding of where exactly we are. The montage of scenes before that converge together in surreal motion, the power of the images alone enough to inform you of the films psychology.
Nicolas Roeg's film was seemingly lost, then resurrected in full and appears to slowly be finding an audience at last. Its themes are simple yet wonderfully effective. Roeg looks at the industrialisation of the world and the ongoing battle against nature, always waiting…
Director: Nicolas Roeg (Fourth Film)
A well-shot film about two siblings; an older sister and a younger brother as they venture - forced to so by circumstance - through the Australian outback. I say venture, but it's more trudge and struggle as they quickly descend into desperation. That is until they meet a young aboriginal boy on his "Walkabout" - a rite of passage undertaken by Aborigines during their adolescence years.
The film is wonderfully shot, with director Nicolas Roeg utilising frequently startling images and juxtaposition. Imagery-wise, Roeg is working wonders in this film with focus on transitions and fluidity and well, generally the odd shot of nature - in both its forms, nasty and nice.
While I haven't quite successfully fallen head-over-heels in love with any of Nicolas Roeg's individual films yet, the one thing that I have consistently loved is that he has a very creative sense of style. His unique photography and editing manage to oscillate between serenely beautiful and roughly jarring, a technical range not many filmmakers are capable of. He also consistently succeeds in pushing the boundaries of the cinematic medium, contrasting images and forcing us to draw our own conclusions from them.
This continues in Walkabout. Roeg crosscuts between the death of a kangaroo in the wild and a butcher chopping meat in his shop. He layers images on top of each other as if in a dissolve, but instead…
Disorienting and surprisingly sexually driven. What really strikes me about this movie (besides Jenny Agutter) is the editing, it's rarely expected and always new.
My only Roeg experience was with The Man Who Fell To Earth so I was surprised with how straight-forward this was. Really compelling story with strong -- occasionally on the nose -- visual metaphor throughout.
"Well, where are we now?"
A superb survival story with creative commentary on humanity, nature, and civilization. Helmed by director Nicolas Roeg with his trademark quick cross-cutting and emotional imagery, it is hard to say anything could've topped 'Dont' Look Now', but I was thoroughly impressed by this film with its wonderful landscape and intriguing story structure.
Recently, I have been watching older Aussie classics like 'Wake in Fright' and heard they are making a big tv adaptation of 'Animal Kingdom.' Since I had only seen one other Roeg film, I thought this would be a good second.
Una hermosa epopeya.
No tengo idea de cómo describir lo hermoso que es este film.
Haven't seen this in around 6 years. Roeg was a big entry point for me into art house and is one of my all time faves. Returning to this film was a fascinating experience. It's a far more loose and rugged film than I'd remembered. His films after this have a sharper precision. Here you can still see him forming his style.
The unwieldiness fits here though with the untamed wilderness and civilized vs. uncivilized. It's as if the cinematic form is trying to be tamed. It's metaphors are fairly obvious but because they're visually and unusually done it still works.
There's scenes of ethereal beauty and throwaway shots that would be the best shots of some filmmakers entire career.…
Excellent photography. Excellent acting. Excellent story. Excellent film
This movie is so damn good. Those lizard shots. It's overt juxtapositions were reminiscent to the films of Eisenstein, and it's political sub(?practically overt)text emphasized the connection even more so. Either way this is utmost still a Roeg film and fantastic one at that. He is truly developing into one of my favorite filmmakers.
I'd shoot at the blonde kid as well
Quite possibly the second most beautiful film of all time after Malick's magnum opus Days of Heaven
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
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